Long before Yes became one of the main pillars of 70s prog and an unofficial inspiration for 00s indie rock ambition (See Flaming Lips’ At War with the Mystics and The Decemberists’ Crane Wife for two examples), Steve Howe had already proven himself an amazing musician. His fluid guitar work with occasional excursions into exotic sounds was well cemented by his previous band, Tomorrow. They were a criminally underlooked band that deserves a place in history, if not for being an important lynchpin in psychedelia, then for their ecstatically played music.
Although now considered minor players in the London psychedelic scene — inevitably compared to Pink Floyd’s massive success and recognition — Tomorrow were one of the finest bands in the city playing far out music. On their signature number, “My White Bicycle,” most of the songs seems to be played backwards. Unlike San Francisco hippie bands, they weren’t all about “jamming.” And, unlike the Velvet Underground, they weren’t about testing the listener with noise and challenging sounds and themes. In other words, they weren’t made to be endured, they were made to be enjoyed. Tomorrow reflected a sound that became synonymous with LSD and wild parties, a sound that lasted from Sgt. Pepper until the arrival of folk rock (Fairport Convention, Incredible String Band, Nick Drake), heavy metal (Zeppelin, Sabbath, Purple) and, yes, prog rock.
And that’s why I love them. They summoned a ton of simple elements in an organic fashion and made them seem like the most insane thing in the world. Their music was ahead of their time, their performances filled with so much joy, madness, and primal energy that you can’t help but dance and scream with belligerent feeling, even if they are only talking about “green” modes of transportation.